Di  vision 
Sect^o^ 


THE 


ATLANTIC  MONTJLLY 

DEVOTED    TO 

Literature,  Science,  Art,  and  P^/tcs 

VOLUME  L- NUMBER  302 
DECEMBER,  1882 


CONTENTS 


TvsoonaTowek.  XXX\in,-XI,I.   Thomas  T..E  Ancestral    Footstep:    Outlines  ok 

.  721  AN   English    Romance.    Nathaniel  Ha-M- 

Hardy ' 

Art  and  Wealth.     O.  B.  Frothingham    .     .  74i         thome 

Studies  IN  the  South.    X 75°     Lydia  Makia  Child 

OiDiPUS.    ^g'tes  Paton 7^4  gosse's  STUDY  OF  Gray     .    .    .    .    • 

Hamlet  IN  Paris.     Theodore  Child .    .    •    -766     jLLusfRvrED  Books 


82.5 
839 
844 
846 


The     House    ok    a    Merchant    Prince.  g^^^^,^  .1-,,^  L^dy  „£  the  Lake.  -  l.onKleilow's 

XXHI.-XXV.      William  Henry  Bishop  .     .776  Evangeline. -Margaret  P.  Janes"  The  Artist's  Year. 

An   AjTERNOON    in    Holland.     Sarah   Orne  -  Yriarte's  Florence. 

798  The  Contributors'  Club 


Jeu'ett 
Persian  Dualism.     EUzaleth  Hobins 


804  Heroines  of  Fiction.  -  Learning  to  Fly. 


OrR  DARK  AGE  m  Music.     7.A//  S.  D^o,ghl  8ij     Books  ok  the  Month     .     . 


852 


.     .  858 


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TnViH  ?>u  \\^y^Kr)\N \ K- Vx-t 


OUR  DARK  AGE  IN  MUSIC. 


The  real  history  of  music  on  this 
side  of  the  Atlantic  is  all  included  in 
the  present  century.  All  that  bore  the 
name  of  music  in  New  England  before 
the  year  1800  may  be  summed  up  in  the 
various  modifications  of  one  monotonous 
and  barren  type,  the  Puritan  Psalmody. 
Its  chronicles,  quaint  as  they  may  be, 
and  full  of  amusing  anecdote,  of  serio- 
comic pulpit  homilies,  and  nuts  for  sat- 
irists and  jokers,  are  more  interesting 
as  exhibiting  one  phase  of  the  old  Pu- 
ritan life  and  manners  than  as  having 
any  significant  relation  to  the  growth  of 
music  as  such,  or  to  any  progress  here 
in  musical  taste  and  culture.  The  his- 
tory would  make  a  readable  chapter  by 
itself,  exciting  many  a  smile  of  pity 
rather  than  contempt ;  but  it  would  not 
show  the  germs  out  of  which  the  mu- 
sical character  of  New  England,  such  as 
it  now  is,  has  developed.  The  truth  is, 
our  fathers  (with  exceptions  too  few  and 
too  feeble  to  hold  out)  had  no  belief  in 
music ;  no  respect  for  it,  except  as  a  part 
of  the  ritual  of  religious  service,  purely 
conventional,  and,  as  they  conceived,  a 
matter  of  divine  injunction.  The  liter- 
al fulfillment  of  the  duty  satisfied  their 
consciences  ;  however  bad  the  music,  if 
they  only  sang,  or  tried  to  sing,  it  was 
enough.  Of  music  in  the  sense  of  art 
they  could  not  have  the  least  conception. 

Yet  psalmody,  in  its  best  estate, 
sprang   out  of  the  very  heart  of  the 


Reformation,  and  Luther  was  its  great 
apostle.  Indeed,  the  singing  of  psulms 
by  the  whole  people  in  unison  bad  been 
characteristic  of  all  reformers  and  schis- 
matics from  a  much  earlier  time,  includ- 
ing the  Arians,  the  Albigenses,  the  dis- 
ciples of  Wickliff  and  John  IIuss,  the 
Bohemian  brethren,  etc.  It  was  the 
plain-song  "  of  the  people,  for  the  peo- 
ple and  by  the  people,"  as  distinguished 
from  the  more  scientific,  figural,  f ugued, 
contrapuntal,  antiphonal  music  of  the 
Catholic  service,  in  which  only  trained 
choirs,  and  priests,  could  minister.  In 
the  confession  of  the  English  Puritans 
(1571),  they  say  :  "  Concerning  singing 
of  psalms,  we  allow  of  the  people's 
joining  with  one  voice  in  a  plain  tune, 
but  not  of  tossing  the  psalms  from  one 
side  to  the  other,  with  intermingling  of 
organs."  History  can  tell  us  everything 
about  these  old  tunes  and  their  various 
setting,  except  where  the  tunes,  the  mel- 
odies themselves,  first  came  from.  Save 
in  a  few  instances,  no  one  knows  who 
invented  or  composed  them.  Probably 
they  grew  and  shaped  themselves  by  lit- 
tle and  little,  in  the  course  of  practice, 
quite  empirically,  by  unconscious  in- 
stinct, out  of  a  thousand  sources  :  large- 
ly out  of  the  old  traditional  ca>ito  jTerwo, 
the  Gregorian  tones,  etc.,  of  the  Cath- 
olic church ;  quite  as  largely  out  of 
snatches  of  free  secular  melody  that 
floated  in  the  air  j  while  some  came  from 


814 


Our  Bark  Age  in  Music. 


[December, 


the  Bohemian  Brethren,  some  were 
sweets  stolen  from  tlie  early  opera,  and 
some  were  of  individual  invention.  Lu- 
ther is  thought  to  have  composed  both 
the  melody  and  harmony,  as  well  as  the 
words,  of  several  of  the  noblest  and 
most  enduring  of  the  German  chorals. 
It  must  be  remembered  that  the  most 
secular  melodies  of  those  days,  the  mu- 
sic of  the  "  world's  people,"  whether 
convivial,  amorous,  or  war-like,  had 
much  of  the  psalm-tune  flavor,  at  any 
rate,  its  dullness.  Probably  many  of 
these  tunes  came  into  their  present 
shape  by  gradual  accretion  and  piecing 
out,  a  phrase  from  this  one  and  a  phrase 
from  that,  instances  of  which  process 
are  well  known. 

To  the  Lutheran  chorals  we  must 
turn  for  the  grandest,  sincerest,  most 
inspired,  most  tender,  deep,  and  heartfelt 
types  of  pure  religious  people's  melody. 
It  was  Luther's  musical  character  and 
knowledge,  together  with  his  many- 
sided  genius,  his  zeal,  his  large  human- 
ity and  common  sense,  that  gave  signifi- 
cance and  form  and  pregnancy  to  the 
German  choral  above  all  other  psalmo- 
dy ;  to  him  and  his  co-workers  the  world 
owes  these  vital  germs  out  of  which 
the  whole  great  German  art  of  sacred 
music,  in  its  larger  forms  of  motet,  ora- 
torio, cantata,  etc.,  has  been  developed. 
Where  these  seeds  dropped  in  genial 
soil,  now  stately  forests  wave,  far-echo- 
ing leafy  avenues  of  song,  through  whose 
responsive,  swaying  branches  sing  the 
winds  of  heaven  in  never-ending  har- 
mony and  fugue.  In  these  small  germs 
lay  all  the  mighty  art  of  Bach  and  Han- 
del, and  their  followers,  in  embryo, 
wailing  for  its  time.  That  was  the  Ger- 
man choral.  But  our  New  England 
psalm-book,  —  what  has  developed  out 
of  that  ?  Nothing  but  endless  mechan- 
ical copies  and  multiplications  of  itself, 
continual  breeding  in  and  in,  a  ringing 
of  idle  changes  on  the  same  old  hum- 
drum meaningless  material ;  books  made 
to  sell,  which  never  would  have  been 


so  multitudinous,  strewing  the  shelves 
and  upper  lofts  of  music  stores  and  sing- 
ing galleries  "  thick  as  the  leaves  of 
Vallambrosa,"  if  they  had  had  any  soul 
of  art  or  music  in  them,  or  were  much 
better  than  dead  leaves,  fit  for  a  general 
bonfire. 

Naturally  enough,  it  was  not  long  be- 
fore the  people's  music  of  the  Reforma- 
tion began  to  flow  in  two  quite  opposite 
directions  :  one  tending  to  a  positive,  a 
genial,  a  human  and  expressive  charac- 
ter, with  Luther  for  its  type  and  mas- 
ter spirit,  leading  up  to  art ;  the  other, 
typified  by  Calvin,  negative,  ascetic, 
stern,  devoid  of  beauty  and  afraid  of  it, 
frowning  on  music  as  a  free  and  genial 
spirit.  Calvin,  it  is  true,  (unlike  Zwin- 
glius,  who  in  the  early  days  of  the  same 
church  had  included  vocal  music  as  well 
as  organs  in  his  proscription  of  idola- 
tries), shrewdly  saw  the  advantage  of 
congregational  singing  in  keeping  the 
fire  alive  in  public  worship.  He  had 
proper  melodies  prepared  (how  far  orig- 
inal, or  from  what  sources  borrowed,  we 
know  not)  for  Marot's  Psalms  by  Franc 
and  other  eminent  musicians  of  the  day. 
These  were  printed  at  Strasburg  in 
1545,  and  were  afterwards  appended  to 
Calvin's  catechism  and  ordered  to  be 
sung  in  the  Reformed  church.  This 
Calvinistic  psalmody  spread  into  Hol- 
land, and  thence  found  its  way  across 
the  ocean  to  our  barren  shores.  While 
Luther,  Walther,  Sachs,  Senfl,  and  many 
more  were  shaping  and  developing  the 
old  German  and  Bohemian  chorals 
(clothed  with  perennial  charm  a  centu- 
ry later  in  the  wonderful  harmony  of 
Bach),  the  Psalms  were  rendered  into 
French  verse  by  Clement  Marot  and 
Theodore  Beza,  and  were  harmonized 
in  parts,  with  the  melod}'  given  to  the 
tenor,  in  1561  by  Louis  Bourgeois;  in 
1562  by  Claude  Goudimel,  who  had 
lived  in  Rome  and  had  the  honor  of 
counting  Palestrina  among  his  pupils ; 
and  in  1565  by  '•■  that  great  master  of 
harmony,"    Claude    Le  Jeune.     Bour- 


1882.] 


Our  Dark  Age  in  Music. 


815 


geois  had  followed  Calvin  to  Geneva  in 
1541,  and    there   became   cantor   in   a 
church,  but  quarreled  with  the  presby- 
tery, who  would  not  let  him  introduce  a 
harmonized  arrangement  of  the  Psalms 
in  public  worship.     The  singing  coun- 
tenanced by  Calvin  was  without  instru- 
ment, without  harmony,  a  droning  forth 
by  the  whole  congregation,  in  untutored, 
dry,  distressing  unison,  or  caricature  of 
that,  of  the  "  French  tunes,"  so  called, 
thougli  some  of  them  were  German   or 
Bohemian,  no  doubt.     These  (a  portion 
of  them)  were  the  psalm-tunes  that  came 
over  with  the  Pilgrim  Fathers,  and  were 
first  sung  December  9, 1620,  perhaps  on 
Plymouth  Rock  (?),  —  the  naked  mel- 
odies, as  they  were  badly  printed  in  an 
edition  of  Ainsworth's  version    of   the 
psalms,  published  in  Amsterdam  in  1612. 
A  few  of  these  tunes  made  their  way 
to  England,  and  may  be  found  in  Ra- 
venscroft  and    other    English    psalters. 
Some  of  them  became  known  iu  Ger- 
many, and  gained   a  place   in  German 
choral-books.     Seven  or  eight  of  them 
afterwards  had  the  distinguished  honor 
of    being   harmonized,    as    they    never 
have  been  before  or  since,  and,  we  may 
say,  immortalized,    by  John    Sebastian 
Bach,  and  may  be  seen  in  the  collec- 
tions of  his  chorals.     The   greatest  of 
these,  371  Vierstimmige  ChoralgesJinge, 
has  been  well  called  "  one  of  those  fon- 
tal  works  which  are  the  cause  or  the  in- 
spiration of  all  that  come  after  them." 
But  if  one  would  find  the  fullest  treas- 
ury of  choral  melodies,  we  would  refer 
him    to    Conrad    Kocher's    Zionsharfe 
(Stuttgart,  1855),  containing  1137  cho- 
rals of  the  German  Reformed  church, 
the  150  psalms  of  the  French  Reformed 
church,  359  psalm  and  hymn-tunes  of 
the  English  and  American  church,  and 
316  of  the  best  melodies  of  the  Romish 
church. 

But  we  anticipate.  We  must  first 
glance  at  our  own  mother  country,  and 
see  how  the  leaven  of  the  Reformation 
was  affecting  the  parochial  music  there. 


Somewhat  in  a  kindred  spirit  with  the 
German  choral,  or  plain-song,  more  so 
in  respect  of  dignity  and  grandeur  than 
of  deep  and  inward  sweetness,  were  the 
English,  Scotch,  and  Welsh  tunes  to 
which  the  Psalms  were  sung  during  the 
reigns  of  Henry  VIII.,  Elizabeth,  and 
Charles  I.  That  was  a  time  when  Eng- 
land flourished  in  tlie  foreground  of 
artistic,  learned,  contrapuntal,  vigorous 
music  ;  the  day  of  her  great  cathedral 
composers,  building  upon  Paiestrina, 
and  her  fresh,  ingenious  school  of  mad- 
rigal writers.  England  had  her  Eliza- 
bethan  age  in  music  no  less  than  in  lit- 
erature. Amid  so  much  that  is  dull, 
conventional,  and  monotonous  in  Eng- 
lish music,  the  names  of  Taliis  and 
Bird,  of  Morley,  Gibbons,  Wilbye, 
Weelkes  and  many  others  form  a  brill- 
iant galaxy.  Many  of  these  did  not 
disdain  to  harmonize  the  homely  psalm- 
tune.  We  must  refer  to  Dr.  Burney's 
stately  History  of  Music,  and  to  Haw- 
kins, for  even  a  sketch  of  the  successive 
settings  and  collections  that  appeared, 
down  to  the  dark  period  with  which  we 
have  to  deal.  Suffice  it  to  say  that 
metrical  psalmodj',  as  practiced  in  the 
English  parochial  churches,  had  its  be- 
ginning, or  at  least  became  general, 
about  the  time  of  Edward  VI.  The 
first  English  version  of  the  Psalms  of 
David,  in  a  most  unpoetic,  rough,  and 
gnarly  kind  of  verse,  was  made  by 
Thomas  Sternhold  —  whom  an  English 
writer  calls  "  our  Marot  witliout  his 
genius"  —  and  John  Hopkins  (1549  and 
1556).  It  was  "  imprinted  at  London 
by  John  Day,"  in  1562,  "  with  apt  notes 
to  sing  them  withal,"  and  again,  with 
harmony,  in  1563.  Several  metrical 
psalters  with  music  were  afterwards 
published  in  Scotland  and  in  England. 
Some  of  the  tunes  are  found  appended 
to  some  old  editions  of  the  Bible.  In 
1579  were  published  "The  Psalmes  of 
David  in  English  meter,  with  notes  of 
foure  partes  set  unto  them  by  Giulielmo 
Damon,  to  the  use  of  the  godly  Chris- 


816 


Our  Dark  Age  in  Music. 


[December, 


tians,  for  recreating  themselves,  iiistede 
of  fond  aud  uuseemely  ballades."  Cosyns 
(1585)  published  sixty  psalms,  in  six 
parts,  in  plain  counterpoint,  to  the  mel- 
odies which  Day  had  printed  before. 
Then  came  the  "  The  Whole  Book  of 
Psalmes,  with  their  wonted  tunes  as 
they  are  song  in  churches,  composed 
into  foure  parts,  by  nine  sondiy  authors. 
Imprinted  at  London,  by  T.  Est "  (or 
Este),  "  1594."  Among  the  nine  ap- 
pear the  names  of  Dowland,  Blancks, 
Farmer,  Allison,  Kirby,  etc.  This  gives 
the  melody  or  plain-song  to  the  tenor, 
after  the  old  Roman  fashion,  the  added 
parts  being  cantus,  alius,  and  bass.  The 
counterpoint  is  simple,  note  against 
note,  the  harmony  excellent.  In  1594 
there  was  a  collection,  by  John  Mundy, 
of  songs  and  psalms  in  three,  four,  and 
five  parts  ;  in  1599  another  collection 
by  Richard  Allison.  Thomas  Este 
seems  to  have  anticipated  Ravenscroft 
in  the  practice  of  naming  tunes  from 
certain  places. 

Finally  appeared,  in  1621,  reprinted 
in  163.J,  the  most  complete  and  alto- 
gether most  important  collection  of  the 
kind  which  England  had  yet  known, 
Thomas  Ravenscroft's  "  Whole  Booke 
of  Psalmes :  with  the  Hymnes  Evan- 
gelical, and  Songs  Spiritvall,  composed 
into  4  parts  by  sundry  Authors,  to  such 
severall  Tunes,  as  have  beene  and  are 
usually  sung  in  England,  Scotland, 
Wales,  Germany,  Italy,  France,  and  the 
Nether-lands :  never  as  yet  before  in 
one  volume  published."  Probably,  ex- 
cept in  Germany,  no  higher  type  of 
liarmonized  psalmody  has  appeared  be- 
fore or  since.  Hawkins  tells  us  that  it 
became  the  manual  of  psalm-singcrs 
throughout  the  kingdom ;  and,  in  the 
multitude  of  illiterate  compilations  that 
sprang  up  on  all  sides  to  choke  it  o£E, 
he  calls  him  "  a  happy  man,  in  many 
places,  who  is  master  of  a  genuine  copy 
of  Ravenscroft's  Psalms."  Every  psalm 
of  the  Old  Version,  besides  the  Hymns 
Evangelical,  etc.,  is  here  printed  in  full, 


with  a  fit  tune,  in  many  instances  the 
same  tune  being  wedded  to  several 
psalms.  The  number  of  distinct  tunes 
is  ninety-eight,  of  which  forty  are  given 
as  "  tunes  of  later  date,"  bearing  names 
like  Windsor,  York,  Low  Dutch,  etc 
the  rest  being  the  old  or  "  proper " 
tunes.  The  list  of  authors  (arrangers, 
harmonizers)  includes,  besides  Ravens- 
croft himself  (who  was  made  Bachelor 
of  Music  at  Cambridge  at  the  early  age 
of  fourteen),  such  names  asTallis,  Dow- 
land, Morley,  John  Milton  (father  of  the 
great  poet),  Allison,  Bennet,  and  others, 
twenty-four  in  all.  The  melody,  or 
plain-song,  is  given  to  the  tenor  voice, 
probably  intended  to  be  sung  en  masse 
by  the  congregation.  Nearly  all  the 
psalms  are  in  common  measure,  and  the 
tunes  are  without  rhythmical  divisions, 
or  bars,  except  between  the  lines,  and 
are  written  very  simply  in  notes  of  al- 
most uniform  length.  The  bass  may 
also  be  counted  as  a  people's  part ; 
while,  for  the  select  and  cultivated  voices 
of  higher  range,  the  more  varied,  arti- 
ficial, contrapuntal  parts  of  cnntus  (so- 
prano) aud  medius  (or  countertenor,  for 
boys)  are  superimposed.  This  is  sim- 
ply the  old  church  way  of  composing 
in  Italy,  France,  Germany,  clothing  the 
massive  plain-song  with  the  freer  play 
of  parts  accompanying.  Tlie  harmony 
is  chaste,  correct,  and  noble,  and  the 
melodic  progression  of  the  four  parts 
severally  is  such  as  to  put  to  shame  the 
work  of  our  multifarious  modern  manu- 
facturers of  psalmody,  although  it  in- 
volves now  and  then  consecutive  fifths 
and  octaves,  not  without  example  in  the 
highest  mastery  of  Bach  himself,  but 
which  strike  the  critical  eye  more  than 
they  offend  the  ear.  Doubtless  such  a 
setting  of  the  psalms  was  too  good  for 
the  many,  and,  in  those  days  of  half- 
musical  and  ignorant  parish  clerks,  who 
"  deaconed  out "  the  lines  to  feeble 
groups  of  voices,  it  is  hardly  conceiva- 
ble that  this  harmony  could  have  been 
widely  accepted,  or  have  continued  long 


1882.] 


Our  Dark  Age  in  Music. 


817 


in  use.  The  assignment  of  the  melody 
to  the  tenor  would  be  enough,  without 
other  obvious  reasons,  to  account  for  the 
short  life  of  such  a  compilation  in  the 
churches.  But  to  the  cultivated  taste 
in  music  the  book  must  have  been  most 
welcome,  and  was  probably  long  cher- 
ished, for  these  things  happened  just  on 
the  turning-point  of  the  decline  of  the 
Elizabethan  era,  when  the  queen  herself 
played  upon  the  "  virginals,"  when  the 
madrigals  were  written,  and  when  Eng- 
lish gentlemen  could  take  a  part  in  sing- 
ing them  at  sight. 

This  brings  us  back  to  our  dark  pe- 
riod. The  Pilgrim  Fathers,  as  we  have 
seen,  were  innocent  of  all  acquaintance 
with  such  psalmody  as  that  of  Ravens- 
croft.  They  were  of  the  Calvinistic 
school  of  singing,  as  well  as  of  doctrine  ; 
without  skill  in  music,  they  sang,  most 
of  them  by  rote,  merely  the  tunes,  with- 
out any  harmony,  from  Ainsworth's 
Psalter,  which  they  brought  with  them 
from  Holland.  Ten  years  later  (1630) 
Winthrop  and  his  colony  of  Puritans, 
not  Separatists,  still  acknowledging  the 
tie  that  bound  them  to  the  English 
mother  church,  came  better  fitted  out 
in  this  respect.  They  are  supposed  to 
have  brought  Raven  scroft's  book  along 
with  them,  although  we  are  at  a  loss  to 
find  documentary  evidence  of  the  fact. 
But,  as  they  came  here  just  in  the  pe- 
riod of  Ravenscroft,  as  they  had  edu- 
cated men  among  them,  university  men, 
they  must  have  had  some  little  skill 
in  music  in  its  plainer  vocal  forms,  — 
enough,  at  least,  to  sing  from  notes. 
An  original  copy  of  Ravenscroft,  pre- 
served in  the  library  of  the  Massachu- 
setts Historical  Society,  has  the  auto- 
graph of  Governor  John  Endicott  upon 
its  fly-leaf.  It  is  known  that  one  of  the 
first  acts  of  the  fathers  was  to  institute 
a  college,  and  that  its  curriculum  from 
the  first  included  systematic  musical 
instruction.  Perhaps,  in  the  burning 
of  its  library  in  1764,  some  copies  of 
Ravenscroft,  or  other  documents  which 

VOL.  L.  —  NO.  302.  52 


would  have  served  our  purpose,  vanished 
into  thin  air.  At  all  events  it  would  be 
hard  to  answer  the  question.  What  set- 
ting of  the  Psalms,  if  not  Raven  scroft's, 
could  have  been  sung  in  the  planting 
of  the  first  church  in  the  new  Boston  ? 
For  they  must  have  been  familiar  with 
it  in  the  old  St.  Botolph's.  Moreover, 
the  Bay  Psalm  Book,  or  New  England 
version  (first  jjriuted  at  Cambridge  in 
1640,  again  in  1647,  and  revised  in 
1650),  to  which  the  Ainsworth  version 
very  slowly  and  reluctantly  gave  way, 
in  its  appended  "  admonition  to  the 
reader,"  gives  direction  for  singing  the 
psalms  to  the  tunes  "  collected  out  of 
our  chief  musicians,  by  Thomas  Ravens- 
croft," etc.  If  Winthrop's  people  did 
bring  this  with  them,  and  if  there  was 
musical  skill  enough,  even  in  a  small 
nucleus  of  them,  to  sing  from  it  in  parts, 
then  we  had  represented  here,  for  a  brief 
period,  the  two  diverging  tendencies  of 
the  great  flood  of  choral  song  which  fired 
the  heart  of  the  people  in  the  days  of 
the  Reformation,  and  of  which  we  called 
Luther  and  Calvin  the  respective  types, 
—  the  one  a  genial  music,  containing  in 
itself  a  germ,  the  other  an  ascetic,  mere- 
ly ritualistic  droning  and  shouting  out 
of  tunes,  ignoring  harmony,  and  putting 
away  all  instruments  as  an  abomination. 
The  latter  came  with  the  Pilgrims,  and 
utterly  prevailed  in  all  New  England 
churches  very  soon  ;  the  former  for  a 
brief  period  may  have  had  some  foot- 
hold in  the  first  church  of  Winthrop's 
followers.  But  how  very  brief  I  That 
might  have  proved  the  germ  of  a  true 
musical  development,  if  the  whole  phys- 
ical and  moral  atmosphere,  if  the  Puri- 
tan character  and  spirit  of  the  settlers, 
if  their  stern  outward  necessities  and 
preoccupations,  and  their  yet  sterner 
theology  only  could  have  favored  !  But 
such  seed  could  not  germinate  in  such 
a  soil.  The  fathers  had  no  time  to 
study  music.  Rough  realities  of  actual 
life,  and  anxious  problems  of  the  life  to 
come,  claimed  all  their  thought.     They 


818 


Our  Dark  Age  in  Music. 


[December, 


had  other  seed  to  plant  in  rougber  soil ; 
they  had  to  fight  o£E  the  Indians,  deal 
with  heretics,  go  to  daily  funerals  with 
solemn  length  of  ceremony,  and  no  end 
of  "  gloves  and  scarfs  and  rings,"  as 
Sewall  in  his  Diary  records  ;  and  at  the 
same  time  keep  up  a  chronic  struggle 
with  the  mother  country  for  their  char- 
ter and  their  liberties.  What  little 
knowledge  they  may  have  possessed  in 
music  was  soon  lost  among  their  im- 
mediate descendants,  whose  meat  and 
drink  was  stern  theology  and  Bible  ex- 
egesis. During  nearly  all  the  remain- 
der of  that  century  "  the  air  was  black 
with  sermons."  Music,  as  such,  wore 
the  strait  jacket,  and  was  shut  up  in 
the  dark.  It  was  only  in  obedience 
to  scriptural  injunction,  "  ordinances," 
that  the  people  tried  to  sing  their 
psalms,  no  other  music  being  for  a  mo- 
ment tolerated.  Instruments  were  an 
abomination.  Cotton  Mather  argued 
that,  "  as  there  is  not  a  word  in  the 
New  Testament  authorizing  the  use  of 
such  aids  to  devotion,  the  Holy  Ghost 
does,  in  effect,  declare,  '  I  will  not  hear 
the  melody  of  thy  organs.'  "  Secular 
music  had  to  hide  itself  out  of  hearing, 
and  might  not  even  peep  aloud.  The 
ceremonial  and  martial  drum  and  trum- 
pet, for  trainings,  proclamations,  and 
processions,  were  the  nearest  approach 
to  anything  like  street  music,  and  prob- 
ably, in  point  of  art,  the  patriotic  fish- 
horn  of  our  boys  would  beat  that  trum- 
peting on  its  own  ground.  Later,  of 
course,  with  the  arrival  of  the  provin- 
cial governors,  and  with  the  English 
church  (King's  Chapel)  and  its  organ- 
ist, a  few  bow  instruments,  violins,  and 
more  especially  the  "  bass  viol,"  or  vio- 
loncello, were  imported  and  enjoyed 
suh  rosd,  as  was  the  "  ball "  given  at  the 
house  of  Master  Enstone,  the  first  or- 
ganist, which  good  Judge  Sewall  pre- 
vailed upon  the  governor  not  to  attend. 
The  judge  indeed  once  mentions  in  his 
Diary  a  party  "  marching  throw  the 
streets   with  viols  and   drums,  playing 


and  beating  by  turns  ; "  and  once  he 
alludes  to  "  my  wive's  virginals."  Other 
than  these,  the  whole  three  volumes  of 
that  famous  Diary  of  a  man,  who  was 
a  leader  in  Israel's  psalm-singing,  con- 
tain no  mention  of  any  instruments  of 
music,  except,  of  course,  the  aforesaid 
drums  and  trumpets.  ("  Peace  was  pro- 
claimed by  eight  or  ten  drums,  and  two 
trumpets.")  Once  he  records  the  be- 
ing "  serenaded  in  the  night  by  three 
musicians  ;  "  but  he  was  too  far  gone  in 
sleep  to  listen,  and  does  not  tell  us  what 
the  trio  was  composed  of. 

In  1673  "there were  no  musicians  by 
trade  in  the  colony."  The  very  name 
musician  was  one  of  reproach.  For  the 
New  England  Puritan  the  only  alterna- 
tive in  music  lay  between  psalmody  and 
vulgar  ballad-singing,  common  fiddling, 
and  dancing  jigs.  This  "  minstrelsy," 
which,  dating  back  to  the  old  Danish 
bards  and  scalds,  had  kept  the  soul  of 
song  alive  for  centuries  in  England,  had 
sunk  so  low  in  her  great  age  of  music 
that,  in  the  thirty-ninth  year  of  Eliz- 
abeth, a  statute  was  passed,  by  which 
"  minstrels,  wandering  abroad,"  were  in- 
cluded among  "  rogues,  vagabonds,  and 
sturdy  beggars,"  —  "  tramps  "  is  now 
the  word,  —  and  were  punishable  as 
such.  Cromwell  (1656)  renewed  the 
ordinance,  —  though  Cromwell  in  a  bet- 
ter sense  loved  music,  —  including  "  fid- 
lers  "  in  the  minstrel  category.  Rit- 
son,  rejoicing  in  their  downfall,  quotes 
with  great  glee  the  following  lines  from 
a  satirical  ballad  ascribed  to  Dr.  John 
Bull,  one  of  the  learned  Elizabethan 
musicians :  — 

"  When  Jesus  went  to  Jairus'  house 
(Whose  daughter  was  about  to  die,) 
He  turned  the  Minstrels  out  of  doors, 
Among  the  rascal  company : 


"  Beggars  they  are  with  one  consent,  — 
And  rogues,  by  act  of  Parliament." 

This  prohibitory  statute  was  always 
available  in  terrorem  throughout  the 
colonies. 


1882.] 


Our  Darh  Age  in  Music. 


819 


In  a  single  generation,  what  little  art 
or  skill  the  founders  had  was  all  forgot- 
ten. Of  Eavenscroft  a  few  of  the  tunes, 
but  not  the  harmony,  remained,  and 
these  were  written,  eight  or  ten  of  them, 
in  the  psalm-books  and  Bible,  and  sung, 
of  course,  in  unison,  the  mere  melody, 
continually  shifting  and  uncertain,  for 
at  least  a  hundred  years.  Mere  melody 
soon  runs  to  waste,  and  soaks  into  the 
sand  of  vulgar  rote  ;  it  requires  the  sav- 
ing power  of  harmony,  not  poor,  me- 
chanical, mere  make-shift  harmony,  but 
harmony  inspired  by  a  creative  genius, 
like  Sebastian  Bach,  developed  with  fine 
instinct  out  of  the  very  heart  of  the 
melody,  to  make  the  tunes  perennial 
and  evermore  unhackneyed.  Such  run- 
ning to  waste  was  fated  in  the  false  con- 
ditions of  church  music  here.  The  few 
old  tunes  that  were  sung  by  rote,  as  the 
hymns  were  "  lined  "  or  "  deaconed  " 
out,  inevitably  became  mixed,  and  al- 
tered, and  perverted.  It  even  went  so 
far  that  each  person  sang  the  lines  to 
whatever  tune  came  most  handy  for  him- 
self, swerving  from  the  tune  set  by  the 
leader  into  one  quite  different,  which  re- 
sulted in  the  most  ludicrous  and  mad- 
dening jai'gon.  Sewall,  in  his  Diary, 
makes  repeated  mention  of  seven  tunes, 
no  more.  These  are  Windsor,  Litch- 
field, Oxford,  York,  St.  David's,  "West- 
minster, and  Low  Dutch.  These  names 
(all  but  one)  are  from  Ravenscroft,  as 
probably  the  tunes  were.  Once  he  says : 
"I  set  Windsor  tune,  and  the  people,  at 
the  second  going  over,  run  into  Oxford, 
do  what  I  could."  Again,  "  In  the 
morning  I  set  York  tune,  and,  in  the 
second  going  over,  the  gallery  carried 
it  irresistibly  to  St.  David's,  which  dis- 
couraged me  very  much."  Once,  "  We 
sung  all  the  ordinary  tuenes."  About 
the  beginning  of  the  eighteenth  century 
the  lowest  depth  was  reached.  Few 
congregations  could  sing  more  than  four 
or  five  tunes,  and  even  these  the  Rev. 
Thomas  Walter  relates,  "  had  become 
so  mutilated,  tortured,  and  twisted,  that 


the  psalm-singing  had  become  a  mere 
disorderly  noise,  left  to  the  mercy  of 
every  unskillful  throat  to  chop  and  alter, 
twist  and  change,  according  to  their  odd 
fancy,  sounding  like  five  hundred  differ- 
ent tunes  roared  out  at  the  same  time, 
and  so  little  in  time  that  they  were  often 
one  or  two  words  apart ;  so  hideous  as 
to  be  bad  beyond  expression,  and  so 
drawling  that  we  sometimes  had  to  pause 
twice  on  one  word  to  take  breath ;  and 
the  decline  had  been  so  gradual  that  the 
very  confusion  and  discord  seemed  to 
have  become  grateful  to  their  ears, 
while  melody,  sung  in  time  and  tune, 
was  offensive ;  and  when  it  was  heard 
that  tunes  were  sung  by  note,  they  ar- 
gued that  the  new  way,  as  it  was  called, 
was  an  unknown  tongue,  not  melodious 
as  the  old,  made  disturbance  in  churches, 
was  needless,  a  contrivance  of  the  de- 
signing to  get  money,  required  too  much 
time,  and  made  the  young  disorderly  ;  the 
old  way  good  enough."  Many  church- 
members  were  suspended  for  persisting 
in  singing  by  rule.  It  required  much 
preaching  to  overcome  the  prejudice. 
No  wonder  that  this  scandal  led  to  the 
rise  of  a  small  party  of  "  anti-psalmists," 
who  were  opposed  to  any  singing,  inter- 
preting the  divine  exhortation  to  "  make 
melody  in  the  heart "  to  mean  that  we 
are  not  to  make  it  with  the  voice  aloud. 
These  were  soon  brought  under  disci- 
pline by  the  stalwart  treatment  of  the 
clergy,  who  ruled  all. 

But  in  the  mean  time  had  come  the 
Revolution  of  1688,  and  the  arrival  of 
the  Provincial  Charter  in  1692,  work- 
ing a  change  in  matters  social,  civil,  and 
religious.  Old  world  luxuries  and  fash- 
ions came  in,  some  literature  (not  theo- 
logical) and  science.  Music  also  burst 
its  bonds,  or  felt  them  loosened,  and  be- 
gan to  sing  a  little  out  of  its  own  sim- 
ple heart.  In  1690  the  first  music  was 
printed  in  Boston,  thirteen  tunes  in  two- 
part  harmony.  Thirty  years  later  sev- 
eral clergymen  made  efforts  to  encour- 
age better  singing.    The  reaction  was  in 


820 


Our  Dark  Age   in  Music. 


[December, 


favor  of  good  music,  —  at  least,  technic- 
ally good,  —  and  scientilically  harmo- 
nized, though  still  cut  short  to  the  Pro- 
crustes bed  of  psalmody.  But  even 
then,  and  more  or  less  down  to  a  time 
within  the  recollection  of  some  old  sing- 
ers of  the  present  day,  however  proper- 
ly composed,  the  tunes  in  practice  un- 
derwent a  barbarous  inversion  of  the 
parts  (far  different  from  double  counter- 
point), the  part  for  tenor  being  sung 
above  the  alto  and  soprano  !  "  Have  we 
not  heard  it  with  our  ears  ? "  This 
barbarism  kept  in  vogue  until  about 
1825  ;  and  not  without  much  contro- 
versy were  the  voices  remanded  sever- 
ally to  their  proper  parts,  the  soaring 
shrill  sopranos  and  high  straining  ten- 
ors —  heroines  and  heroes  of  the  vil- 
lage choirs  and  singing-schools  —  cling- 
ing bravely  to  what  they  had  so  long 
regarded  as  their  rightful,  proud  dis- 
tinction. 

But  soon,  with  a  Queen's  Chapel  here 
in  Boston,  the  organ  was  to  lend  sol- 
emn beauty  to  the  service.  With  what 
suspicion  that  ''  box  of  whistles  "  had 
been  dreaded  and  excluded  !  How  Cot- 
ton Mather  had  denounced  it !  And 
good  Judge  Sewall,  after  a  visit  to  Ox- 
ford, Eng.,  writes  :  "  I  am  a  lover  of 
music  to  a  fault ; "  yet  he  was  made 
uneasy  by  the  music  in  the  church, 
where  "the  justling  out  the  institution 
of  singing  psalms  by  the  boisterous  or- 
gan "  disturbed  him  as  "  something  that 
can  never  be  answered  to  the  great 
Master  of  religious  ceremonies."  The 
first  organ  in  New  England  was  that  of- 
fered by  Thomas  Brattle  to  the  Brattle 
Street  Church,  and  there,  on  principle, 
declined  with  thanks,  in  1713,  and  then 
passed  over  to  the  Chapel  and  accepted, 
although  it  is  said  to  have  lain  seven 
months  in  the  porch  before  they  ven- 
tured to  unpack  it.  The  next  year  the 
wardens  wrote  to  England  to  invite  Mr. 
Edward  Enstone  to  come  over  and  be 
the  organist,  at  a  salary  of  thirty  pounds 
per  annum,  which  sum,  "  with  other  ad- 


vantages as  to  dancing,  music,  etc."  (of 
course  some  secular  music  could  be 
smuggled  in  with  the  rest),  "  we  doubt 
not  will  be  sufficient  encouragement." 
He  began  his  duties  by  Christmas,  1714. 
To  the  Puritan  neighbors  that  Chapel 
must  have  been  a  haunted  house.  Yet 
one  can  easily  imagine  many  a  younger 
spirit  creeping  within  its  porch  to  listen 
with  wonder  and  delight.  It  was  not 
long  before  one  young  Bostonian,  Ed- 
ward Bromfield  (1745),  actually  built 
an  organ  which  was  thought  to  surpass 
any  yet  heard  here  from  abroad,  and  was 
the  wonder  of  the  day  in  all  these  colo- 
nies. From  that  time  organs  began  to 
creep  into  the  churches,  and  with  them 
organists,  who,  of  course,  did  something 
to  enlarge  the  meagre  repertory  of  a 
people  which  did  not  know  music  even 
enough  to  hate  it. 

If  the  period  from  1G20  to  1690 
was,  musically,  one  of  total  darkness, 
the  second  period,  to  which  we  have 
just  alluded,  that  of  the  provincial  gov- 
ernors, exhibits  the  first  slight  signs 
of  a  gray  penumbra,  gradually  growing 
thinner.  Now  appear  more  positive 
tokens  of  approaching  dawn,  for  we 
have  reached  our  Revolution  of  1775,  a 
period  of  free  thought  and  inquiry.  The 
struggle  for  self-government  was  a  gen- 
eral quickening  of  the  mind,  and  made 
men  less  afraid  of  new  ideas,  and  arts, 
and  ornaments  of  life.  In  music,  to  be 
sure,  the  progress  was  for  a  long  time 
confined  to  psalmody.  But  now  the  re- 
action against  "  linin<j  out "  was  final. 
Better  collections  were  published,  more 
carefully  arranged,  with  short  treatises 
on  musical  grammar,  and  with  rules  for 
singing.  It  was  about  this  time  (1774) 
that  that  eccentric  genius,  William  Bil- 
lings (born  in  Boston,  October  7,  1747, 
died  September  26, 1800),  taught  a  sing- 
ing-school in  Stoughton,  with  forty-eight 
members,  the  best  school  then  known. 
That  genuine  old  New  England  insti- 
tution, the  singing-school,  began  about 
1720.     It  was  the  chief  form  of  social 


1882.] 


Our  Bark  Age  in  Music. 


821 


intercourse  —  shall  we  say  "  society  "  ? 
—  in  all  the  country  villages  ;  and  in  it 
psalmody,  and  gossip,  and  flirtation,  we 
may  well  conceive,  were  learned  togeth- 
er, or  practiced  without  learning.  Bil- 
lings invented  a  new  way  of  setting 
hymns  and  anthems,  which  was  called 
the  "  fuguing  style."  It  became  ex- 
tremely popular  because  of  its  vivacity, 
the  voice  parts  moving  in  a  sort  of  mu- 
tual imitation  (not  fugue  properly),  in 
quick  time,  chasing  one  another  round. 
O  Mather  !  O  Judge  Sewall !  The  grave 
old  heavy  psalmody  was  startled  and 
danced  out  of  its  sobriety.  Here  was  a 
music  that  was  found  exciting  ;  a  lively 
rhythmical  protest  (for  men  had  been 
drinking  of  the  new  wine  of  liberty) 
against  the  dry  and  dreary  old  conven- 
tionalism ;  a  music  flattering  to  the  sense 
and  a  relief  to  the  imprisoned  spirit. 
Whether  it  appealed  to  any  deep  relig- 
ious sentiment  or  not,  it  set  the  sing- 
ers in  good  humor,  and  responsive  to 
the  exhortation  that  we  "  make  a  joy- 
ful noise."  Billings  was  exceedingly 
prolific  in  this  kind  of  composition,  and 
had  imitators,  some  of  whom  "  out-her- 
oded  Herod  "  in  their  ventures  on  the 
sea  of  bold  "  originality "  and  native 
"inspiration."  His  music  had  a  flavor 
of  its  own,  and  showed  a  certain  rude 
native  talent  and  invention.  Fugue  it 
was  not  in  any  right  artistic  sense  ;  of 
all  that  lie  was  ignorant.  What  a  god- 
send it  would  have  been  to  him,  what 
would  he  not  have  thought,  what  possi- 
bly have  done,  had  there,  by  any  chance, 
fallen  into  his  hands  some  fugues  or 
other  compositions,  some  harmonized 
chorals  even,  of  Sebastian  Bach  or  Han- 
del !  See  how  he  rhapsodized,  in  one 
of  his  "  spread-eagle  "  prefaces,  about 
his  new  music  :  — 

"  It  has  more  than  twenty  times  the 
power  of  the  old  slow  tunes  ;  each  part 
straining  for  mastery  and  victory,  the 
audience  entertained  and  delighted,  their 
minds  surprisingly  agitated  and  extreme- 
ly fluctuated ;   sometimes  declaring  for 


one  part  and  sometimes  another.  Now 
the  solemn  bass  demands  their  atten- 
tion, next  the  manly  tenor ;  now  the 
lofty  counter,  now  the  volatile  treble. 
Now  here,  now  there,  now  here  again. 
Oh,  ecstatic  !  Rush  on,  ye  sons  of  har- 
mony !  " 

Indeed,  it  seems  to  have  been  a  sort 
of  musical  horse-race.  But  there  was 
this  gain  at  all  events  :  music  was  at  last 
listened  to  as  music,  and  not  alone  as 
ritual ;  it  was  thought  worth  the  while 
in  itself ;  there  was  a  chance  that  it 
might  come  to  something  really  musical 
in  course  of  time.  It  was  essentially 
a  secular  reaction  against  plain,  sol- 
emn psalmody  ;  but  all  within  the  house 
of  worship,  the  choristers,  drunk  with 
the  new  wine,  setting  themselves  up  on 
their  own  account  to  do  their  part  in  the 
public  service ;  no  strait  jacket  any 
longer,  but  a  general  "  sunburst,"  and  a 
breaking  loose  of  the  imprisoned  school- 
boys. 

So  much  for  Billings.  But  of  course 
it  caused  some  scandal,  and  the  elders 
shook  their  heads.  Joel  Harmon,  in  his 
Sacred  Minstrelsy,  published  at  North- 
ampton in  1809,  denounced  the  reigning 
fashion  as,  "  a  tasteless,  heartless,  trivial 
and  irreverent  jargon."  Still  earlier,  in 
1791,  Samuel  Holyoke  had  published  his 
Harmonia  Americana,  containing  (as  did 
Harmon's  book)  tunes  more  solemn  in 
style,  more  correct  in  harmony,  and 
more  appropriate  to  church  use  than  the 
"  fuguing  "  skirmishes.  These,  followed 
up  by  the  Bridgewater  collection  in 
1812,  the  Handel  and  Haydn  Society's 
in  1822  (edited  by  Lowell  Mason),  and 
many  others,  gave  a  new  turn  to  the 
whole  subject,  and  led  the  way  to  what 
is  now  known  and  used  as  psalmody. 
But  first  there  was  a  long  and  lively 
controversy  between  what  was  called 
the  "  Old  "  and  the  "  New  School,"  the 
'*  Old  Hundred  Singers  "  and  the  "  Fu- 
guists."  Billings,  in  his  small  way,  was 
the  Wagner  of  his  day  and  generation. 

Meanwhile,  to  obviate  the  confusion 


822 


Our  Dark  Age  in  Music. 


[December, 


of  the  whole  congregation  singing  or 
droning  out  of  tune  and  time,  in  its  un- 
tutored zeal,  the  church  choir  came  in 
fashion,  well  enough  in  the  emergency, 
however  questionable  in  the  long  run. 
After  the  Revolution,  one  of  the  fruits 
of  Billings's  singing-school  appeared  in 
the  formation  of  the  Stoughton  Musical 
Society  (November  7,  178G),  the  ear- 
liest in  New  England,  and  first  harbin- 
ger of  Boston's  Handel  and  Haydn  So- 
ciety. Then  a  host  of  on  the  whole 
respectable  psalm  and  anthem  makers 
sprang  up,  who  treated  the  matter  seri- 
ously and  with  some  skill,  not  slighting 
the  good  old  tunes,  and  studying  to  har- 
monize the  tunes  correctly.  Enough  to 
mention  names  like  Holden,  Gram  (the 
first  German  to  engage  here  in  such 
work,  —  no  German  would  have  done 
it  anywhere  else),  Holyoke,  Kimball, 
Mitchell,  Selby,  Sumner,  blind  Oliver 
Swan,  the  sweet  singer  who  wrote 
China,  Sinful  Mary's  Tears,  and  other 
songs  that  were  long  popular.  Espe- 
cially is  it  worth  noticing  that,  in  the 
very  same  year  (1805)  in  which  a  Ver- 
mont composer,  Ingalls,  brought  out  a 
phenomenal  collection  of  his  own  tunes, 
after  the  Billings  type,  there  appeared 
also  "  The  Salem  Collection  of  Classical 
Sacred  Music,  in  three  and  four  parts," 
in  which  we  find  the  names  not  only  of 
Luther  (several  times),  John  Milton, 
Dr.  Arne,  Kirby,  Dr.  Madan,  but  Pur- 
cell,  and  several  things  arranged  from 
Handel,  showing  a  taste  among  the  "  ap- 
preciative few  "  as  far  advanced  for  that 
day  as  the  taste  for  Bach  and  Robert 
Franz  to-day.  This  Salem  book,  how- 
ever, was  not  the  first  to  dip  into  the 
classics  and  give  us  some  diluted  fore- 
tastes of  the  masters  in  exceedingly  small 
cups.  Already,  in  1795,  had  appeared 
The  Massachusetts  Compiler,  by  Hans 
Gram,  Samuel  Holyoke  and  Oliver  Hol- 
den, containing  psalm  -  tunes,  choruses, 
and  solos,  "  chiefly  selected  or  adapted 
from  modern  European  publications," 
among  which  are  pieces  arranged  from 


Handel,  Purcell,  Dr.  Arne,  etc.  "  Let 
the  Bright  Seraphim,"  with  nothing 
but  an  unfigured  bass  accompaniment, 
is  one  of  the  solos ;  and  once  a  now 
familiar  face  peeps  out  from  Haydn's 
symphonies,  under  the  title  of  Futu- 
rity, "  arranged  for  three  voices,  by  IL 
Gram,  from  a  late  instrumental  compo- 
sition of  the  celebrated  Mr.  Haydn." 
This  honest  but  obscure  musician,  all  the 
way  from  Germany,  a  rara  avis  here, 
could  not  have  breathed  in  this  close  at- 
mosphere had  he  not  brought  with  him 
some  airs  from  Vaterland.  Probably 
the  choir-singing  movement  reached  its 
culmination  and  its  best  in  the  then  fa- 
mous Park  Street  choir,  out  of  which, 
and  other  elements,  the  oratorio  in  Bos- 
ton drew  its  first  recruits. 

And  here  we  are,  well  into  the  nine- 
teenth century,  and  nothing  yet  but 
psalmody  !  Nothing  that  properly  can 
count  in  the  history  of  music  here  as  art. 
The  distinctively  New  England,  home- 
spun psalm-tune  contains  no  germs  of 
musical  progress,  nothing  which  by  the- 
matic development  or  genial  contrapun- 
tal treatment  could  lead  up,  like  the  Ger- 
man choral,  which  was  kern-melodisch, 
into  higher  and  larger  forms  of  art,  — 
the  oratorio,  motet,  passion,  sacred  canta- 
ta, and  Te  Deum.  All  our  music  before 
1800  was  but  conventional  religious  cer- 
emony, ritual  in  fact,  performed  more 
from  duty  than  from  love,  and  carefully 
forbidden  to  assert  itself  in  its  own  right 
as  music.  The  old  Puritan  mistrust  of 
pleasantness  had  stripped  the  tree  of 
leaves,  lopped  off  the  spreading  branches, 
and  very  nearly  killed  the  root.  Some 
root  fibres  there  were  left,  however, 
some  there  must  have  been,  deep  down 
in  the  hard-trodden  soil,  in  the  undying 
musical  nature  of  man ;  for  man  has  a 
musical,  as  well  as  a  religious,  a  poetic, 
and  an  intellectual  nature,  and  no  man's 
humanity  can  be  complete  without  it. 
These  fibres  found  some  scanty  nourish- 
ment in  the  church  choir  and  village 
singing-school,  in  the  mere  joy  of  pro- 


1882.] 


The  Ancestral  Footstep. 


823 


ducing  musical  tones,  and  tasting  some 
thin  juice  of  melody,  with  the  surprise 
of  now  aud  then  a  pregnant  and  sug- 
gestive harmony ;  in  the  warlike  and 
official  drum  and  trumpet,  spiced  and 
quickened  later  by  the  fife ;  and  possi- 
bly in  some  secular  reaction  of  dance 
tunes,  sentimental  melodies,  and  frivo- 
lous or  vulgar  comic  songs  and  ditties  ; 
certainly,  after  the  Revolution  had  be- 
gun, in  patriotic  airs  and  military  strains. 
Thus  there  was,  on  the  one  hand,  a  very 
dull  and  sanctimonious  music ;  on  the 
other,  in  the  course  of  tinae,  a  very  shal- 
low, frivolous  and  popular  reaction. 
Neither  kind  contained  the  principle  of 
musical  development,  —  we  mean  his- 
torically, —  although  philosophically  out 
of  one  tone  can  be  developed  all  tones, 
and  indeed  the  whole  great  art  of  mu- 
sic in  all  its  least  and  largest  forms. 

Music,  for  us,  had  first  to  be  import- 
ed from  an  older  and  a  richer  soil.  Mere 
psalm-singing  and  psalm-book  making 


never  could  prepare  a  soil  in  which  great 
music  could  take  root.  Another  im- 
pulse and  another  kind  of  seed  were 
indispensable.  We  had  to  wait  for  the 
meeting  of  more  vital  elements.  A  few 
years  longer,  and  tliere  came  to  us  an- 
other German,  a  musical  man  of  mark, 
from  Haydn's  orchestra,  Gottlieb  Graup- 
ner,  the  first  to  gather  together  in  the 
old  Puritan  town  the  small  beginning  of 
an  orchestra,  and  plant  the  seeds  of  a 
first  love  for  Haydn's  and  for  Mozart's 
symphonies.  At  the  same  time  there 
came  a  musician  of  the  English  school, 
a  learned  organist,  the  portly  Dr.  Jack- 
son, as  well  as  other  English  organ- 
ists and  choir-directors.  These,  with  a 
corps  of  voices  from  the  Park  Street 
choir,  first  made  it  possible  to  undertake 
an  oratorio,  to  found  a  Handel  and 
Haydn  Society  in  1815,  and  to  enter 
into  practical  acquaintance,  deepening 
into  enthusiastic  love,  with  some  of  the 
great  masters. 

John  S.  Dwight. 


THE   ANCESTRAL   FOOTSTEP : ^ 

OUTLINES   OF  AN  ENGLISH  ROMANCE. 


PREFATORY  JfOTE. 

Shortly  after  the  publication  of 
Septimius  Felton,  I  printed  in  the  Atlan- 
tic Monthly  for  October,  1872,  an  article 
which  traced  with  some  particularity,  as 
its  title  indicated,  the  History  of  Haw- 
thorne's Last  Romance.  The  romance 
therein  referred  to  was  the  Dolliver,  in 
which  Septimius  Felton  had  apparently 
at  last  been  merged  by  the  author.  He 
lived  long  enough  to  complete  only  the 
first  chapters  of  The  Dolliver  Romance, 
which  were  published  in  this  magazine 
soon  after  his  death.     Subsequently  his 

1  Copyright,  1882,  by  Rose  Hawthobme  La- 

THKOP. 


widow  began  to  prepare  for  the  press 
the  unfinished  manuscript  of  Septimius 
Felton,  but,  before  that  task  had  been 
carried  out,  her  own  death  arrested  it, 
and  the  work  was  completed  by  her 
daughters. 

In  the  article  which  has  just  been 
mentioned,  the  view  was  advanced  that 
Septimius  Felton  had  been  the  out- 
growth of  a  project,  formed  by  Nathaniel 
Hawthorne  during  his  residence  in  Eng- 
land, to  write  a  romance,  the  scene  of 
which  should  be  laid  in  that  country  ; 
and  that  this  project  had  afterwards 
been  abandoned,  giving  place  to  a  new 
conception  in  which  the  visionary  search 
f9r  means  to  secure  an  earthly  immor- 


824 


The  Ancestral  Footstep. 


[December, 


tality  was  to  form  the  priucipal  interest 
The  two  themes,  of  course,  were  distinct 
and  separate,  but,  by  a  curious  process 
of  thought,  one  grew  directly  out  of 
the  other ;  the  whole  history  forms,  la 
fact,  a  chapter  in  what  may  be  called 
the  genealogy  of  a  romance.  There  re- 
mained, after  Septimius  Felton  had  been 
published,  certain  manuscripts  connected 
with  the  scheme  of  an  English  story,  the 
contents  of  which  I  described  in  general 
terms,  in  discussing  this  question  of  the 
origin  of  the  book.  One  of  these  man- 
uscripts was  written  in  the  form  of  a 
journalized  narrative ;  the  author  mere- 
ly noting  the  date  of  what  he  wrote,  as 
he  went  along.  The  other  was  a  more 
extended  sketch,  of  much  greater  bulk, 
and  without  date,  but  probably  produced 
several  years  later.  It  was  not  original- 
ly intended  by  those  who  at  the  time 
had  charge  of  Mr.  Hawthorne's  papers 
that  either  of  these  incomplete  writings 
should  be  laid  before  the  public ;  be- 
cause they  manifestly  had  not  been  left 
by  him  in  a  form  which  he  would  have 
considered  as  warranting  such  a  course. 
But  since  the  second  and  larger  manu- 
script has  recently  been  announced  for 
publication,  under  the  title  of  Dr.  Grim- 
shawe's  Secret,  it  has  been  thought  best 
to  issue  the  present  sketch  at  the  same 
time,  so  that  the  two  documents  may 
be  examined  together.  So  far  as  I  am 
aware,  they  are  the  only  fragments  of 
imaginative  composition  by  Mr.  Haw- 
thorne hitherto  unpublished,  and  their 
appearance  places  in  the  hands  of  read- 
ers the  entire  process  of  development 
leading  to  Septimius  and  The  Dolliver 
Romance,  which  I  outlined  in  1872. 
They  speak  for  themselves  much  more 
efficiently  than  any  commentator  can 
expect  to  do ;  and  little,  therefore,  re- 
mains to  be  said  beyond  a  few  words  of 
explanation  in  regard  to  the  following 
pages. 

The  Note-Books  show  that  the  plan 
of  an  English  romance,  turning  upon 
the  fact    that  an  emigrant  to  America 


had  carried  away  a  family  secret  which 
should  give  his  descendant  the  power  to 
ruin  the  family  in  the  mother  country, 
had  occurred  to  Hawthorne  as  early  as 
April,  1855.  In  August  of  the  same 
year  he  visited  Smithell's  Hall  in  Bol- 
ton le  Moors,  concerning  which  he  had 
already  heard  its  legend  of  The  Bloody 
Footstep,  and  from  that  time  on,  the 
idea  of  this  footprint  on  the  threshold- 
stone  of  the  ancestral  mansion  seems 
to  have  associated  itself  inextricably 
with  the  dreamy  substance  of  his  yet 
unshaped  romance.  Indeed,  it  leaves  its 
mark  broadly  upon  Sybil  Dacy's  wild 
legend  in  Septimius  Felton,*  and  reap- 
pears in  the  last  paragraph  of  that  story. 
But,  so  far  as  we  can  know  at  this  day, 
nothing  definite  was  done  until  after  his 
departure  for  Italy.  It  was  then,  while 
staying  in  Rome,  that  he  began  to  put 
upon  paper  that  plot  which  had  first  oc- 
cupied his  thoughts  three  years  before, 
in  the  scant  leisure  allowed  him  by  his 
duties  at  the  Liverpool  consulate.  Of 
leisure  there  was  not  a  great  deal  at 
Rome,  either ;  for,  as  the  French  and 
Italian  Note-Books  show,  sight-seeing 
and  social  intercourse  took  up  a  good 
deal  of  his  time,  and  the  daily  record  in 
his  journal  likewise  had  to  be  kept  up. 
But  he  set  to  work  resolutely  to  embody, 
so  far  as  he  might,  his  stray  imaginings 
upon  the  haunting  English  theme,  and 
to  give  them  connected  form.  April  1, 
1858,  he  began ;  and  then  nearly  two 
weeks  passed  before  he  found  an  oppor- 
tunity to  resume,  April  13th  being  the 
date  of  the  next  passage.  By  May  he 
gets  fully  into  swing,  so  that  day  after 
day,  with  but  slight  breaks,  he  carries  on 
the  story,  always  increasing  in  interest 
for  us  who  read  as  for  him  who  impro- 
vised. Thus  it  continues  until  May  19th, 
by  which  time  he  has  made  a  tolerably 
complete  outline,  filled  in  with  a  good 
deal  of  detail  here  and  there.  Although 
it  is  cast  in  the  form  of  a  regular  nar- 

1  See  page  111  of  Septimius  Felton,  as  originally 
published  in  1872. 


ECHO   LEVER 


NUTMEG   LEVER,  ALARM. 


4V:t->Q>-'b  Dial 


JOKER    LEVER. 


4 


< 


3-ineh  Dial. 

1  Day,  Time,  Alarm. 

1  Day,  Strike. 

Gold  Gilt  Front  and  Handle. 

Nickel  Frame  and  Glass  Sides. 


LINCOLN. 


Height,  27  inches. 

8-day  Weight.    Strikes  the 

hours.    Brass  Weights. 


We  were  the  first  to  introduce 

these  SMALL  LEVEU  CLOCKS, 
in  nickel  cases,  which  have  met  with 
so  much  favor  at  home  and  abroad. 
They  have  been  extensively  imitated 
If  vou  will  look  for  one  having  on 
the  dial  "  SETH  THOMAS,"  or  our 
trade  mark  (a  square  within  a  circle, 

inclosing  initials  S.  T.  ^^  ),  you 
will  get  a  good  time-piece  and  a 
durable  case. 

If  you  must  have  a  cheaper  one  than 
ours,  all  right.  About  a  thousand 
people  per  day,  on  an  average,  have 
bought  one  of  ours  for  several  years, 
and  enough  are  still  doing  it  to  keep 
us  busy.  Wc  prefer  to  increase  our 
business  on  a  higher  grade  of  goods. 
This  season  we  particularly  call  your 
attention  to  several  patterns  of  Man- 
tel and  Hanging  Clocks,  striking 
slowly  upon 

CATHEDRAL  BELLS 

of  a  fine  tone.  Two  new  patterns 
of  8-day  AVeight  Clocks,  with  brass 
weights,  visible  pendulums,  and 
wooden  rods  (well  made  cases  and 
superior  movements)  are  here  shown. 
The  cases  of  these,  and  other  Ca- 
thedral Bell  patterns,  are  finished  in 
various  ways,  as  per  Catalogue. 

Please  order  through  your  Jeweler, 
and  if  he  has  not  received  our  Cata- 
logue of  1882-83,  issued  September 
last,  ask  him  to  send  for  it. 

SETH  THOMAS  CLOCK  GO. 

Thomaston,  Conn., 

.\NU 

20  Murray  Street,  New  York. 

Chicago:    16l  State  Street. 

San  Francisco :  132  Sutter  Street. 

London  :  7  Cripplegate  Buildings, 
Wood  Street. 


3-iucli  Dial. 


CRYSTAL    LEVER. 


3-inch  Dial. 

1  Day,  Time,  Alarm. 

1  Day,  Strike. 

Gold  Gilt  Handle. 

Nickel  Frame  and  Glass  Sides. 


GARFIELD. 

jm  lifliMiiljjailLBjJBig., 


Height,  29  inche.s 

8-day  Weight.     Strikes  the 

hours.    Brass  Weights 


■5=  .; 
is  Ml. 


« 


E 

o 

H 


u 


^ 


eOLD  MEDAL,  PARIS,  l»^8. 


Like  all  oiir  chorolat^,  is  pre- 
pared with  the  greatest  care,  and 
consists  of  a  cuperioj  quality  of 
cocoa  and  t^usar,  ll/vored  with 
pure  vaoUla  bean.f  Served  as  a 
drink  or  eaten  dry  as  confec- 
tjonery,  it  is  a  dtli\'ious  article, 
and  i8  liigbly  rce^inmended  by 
tourists. 

Sold  by  firoccrs  erprprhere. 

AV.  BA-IvER  &  CO., 

Dorclveater,  Mass. 


GOLD- MEDAL,  PARIS,  1878. 

BAKER'S 

Breatfasl  Cocoa. 

\\  arranted  absolutely  ptirf) 
Cocoa,  from  which  the  excess  of 
Oil  has  been  removed.  It  has  tfiree 
times  the  strength  of  Cocoa  mixed 
•with  Starch,  Arrowroot  or  Pugar, 
and  is  therefore  far  more  economi- 
cal. It  is  delicions,  nourishing, 
strengthening,  easily  digested,  and 
admirably  .idapted  for  invalids  is 
well  as  for  persons  in  health. 


Sold  by  Grocers  ererjwhere. 

I EAEER  &  CO.,  SorcUer,  lass. 


LOW'S  TOILET  SOAPS 

AND 

Haiifltercliiel  Extracts. 


HOOPER'S  CACHOUS. 


KIRBY,  BEARD  &  CO.'S 

NEEDLES. 


THE  PLUME  &  ATWOOD 
PINS. 


DORCAS  SAXONY  WORSTED. 
DORCAS  GERMANTOWN, 
DORCAS  KNITTING  WORSTED. 

The  above  may  be  found  witli  representative 
dealers  in  evorv  citv. 


DECKER 

brothers'^  ■  • 
PIANOS 

Have  shown  themselves  so  far  superior  to  all 
others  in  excellence  of  workmanship,  elasticity 
of  touch,  beauty  of  tone,  and  great  durability, 
that  they  are  now  earnestly  sought  for  by  all  per- 
sons desiring  the 

VERY  BEST  PIANO. 

Very  lowest  prices  consistent  with  highest  at:  vd- 
ard. 

CAUTION. 

AH  genuine  Decker  Pianos  have  the  foDowir 
name  —  (precisely  as  here  shown)  —  on  the  piano 
above  the  keys : 


33  UNION  SQUARE,  NEW  YORK. 

ROGBRS' GROUPS. 

Average  JPrice  $15.00. 


I'JtICE   .S^OMO. 
"18  IT  so  NOMINATED  IN  THE  BOND  V 

.Antonio, -Ka.ssanio,  Portia,  ;inil  Shj  lock  ;ire  here  repre- 
sented in  the  trial  scene  from  .■'hake>pe.i.iJ's  play  of  "  The 
.'ilereliant  of  Venice."' 

These  t;miips  are  packed,  will  (•• 

:iii.v  part  of  the  world,  ami   tli.  1. 

If  iiitendeil  for  Wediliug  or  lli>'i  '"■ 

promptly  forwarded  a»  directed  lllnslnicd  i  itaiotriies 
c»n  be  I'lH  on  application,  or  will  be  mailed  by  inclosing- 
ten  evts  to 

JOHN  BOGiCKS,  'ilt  liiioii  Square,  New  York. 
Visitors  arc  iilwnijs  weltome. 


